per orchestra 

Diego Matheuz 
Orchestra del Teatro la Fenice di Venezia
07/06/2014

L'anatra digeritrice (in francese Le Canard Digérateur) era un automa con sembianze d'anatra progettato da Jacques de Vaucanson nel 1739.
Questo prodigio della meccanica, che impressionò Voltaire e i contemporanei, riproduceva con minuzia iperrealista i movimenti dell'animale. La sua peculiarità più sorprendente, la capacità di ingerire, digerire e defecare cibo, era però soltanto apparente. Nessun reale processo digestivo avveniva all'interno dell'automa, ma un semplice scambio di cibo con feci (dovranno passare quasi tre secoli prima che un vero sistema digestivo meccanico, la Cloaca Machine di Wim Delvoye, veda il giorno). Al pari del celebre "turco" di von Kempelen (l'automa che giocava a scacchi, in realtà azionato da un nano), ci troviamo di fronte ad una frode. Non si tratta però del gioco delle tre carte. Il fatto che i più geniali inventori del tempo ricorsero alla truffa non è nient'altro che l'espressione dell'impasse del riduzionismo meccanicista di fronte alla simulazione dell'intelligenza logico-associativa (nel caso del "turco") o delle parti molli (il cosiddetto "wetware") della fisiologia animale. È la netta presa di coscienza di un limite.
Parlare di automi e di ozio è quasi una tautologia. A differenza di Golem e Robot, infaticabili lavoratori subordinati all'uomo (almeno finché non sopraggiunge l'ammutinamento), l'automa non ha alcun lavoro da portare a compimento. Vive una vita tranquilla, esibendo i suoi meccanismi e anelando ad un irraggiungibile modello organico. È sostanzialmente inutile.

"Anatra digeritrice" vuole essere una piccole collezione di questi meccanismi che girano a vuoto.

Il pezzo, commissionato nell’ambito del progetto «Nuova musica alla Fenice», è dedicato a Giovanni Morelli.

Mauro Lanza - "Anatra digeritrice (piccola Wunderkammer di automi oziosi)" (2014)

Wasteland_underlife
for five instruments and electroacustic device

Commissioned by Ensemble Suono Giallo and funded by Ernst von Siemens Musikstiftung

Andrea Biagini, flute
Michele Bianchini, saxophone
Laura Mancini, percussion
Simone Nocchi, piano
Giacomo Piermatti, double bass

Score published by Edizioni Suvini-Zerboni, Milan

Wasteland_underlife (2022)_excerpt [use headphones!]

'ànemos : MYRA' (2023), for orchestra

Residentie Orkest

Conducted by Michal Nesterowicz

Commissioned by Residentie Orkest

Recorded by Cees Oosterhuis

Premiered on 10th of November 2023 in Concertzaal Amare, Den Haag

___________________

‘MYRA’ is part of a cycle named ànemos ; ànemos in greek language means wind. In ancient Greece the sea was named after the volume of the wind. Greeks distinguished twelve different kinds of wind based on the volume of each wind’. 'Myra’ represents the 3rd level. The entire cycle, 'ànemos' which includes solo, ensemble, vocal, orchestral, and electronic works in terms of instrumentation, investigates the formation and existence of sonic visibilities, posing the question of how we can perceive a background sound as a foreground and vice versa. The compositional intensions of this miniature is to transmit the volume of the specific wind level, as well as to create a world of concrete materials that co-exist and interact because of their own intense individual plasticity of their unique sounds.

ànemos - MYRA :: 2023

Giorgio Colombo Taccani SPIRITO DOLCE for piano (2024)
dedicated to: Michele Spiri
EDIZIONI SZ SUGAR - MILANO
Michele Spiri, piano
More at www.colombotaccani.it/spiritodolce.html

"Spirito dolce" for piano (2024)

Fiato - Filippo Perocco
Azione_Improvvisa Ensemble 
commission by Associazione Culturale Anomalia ETS

Live recording, 21.01.2024

Fiato - Filippo Perocco

Please, use headphones or good loudspeakers.

The purple fuchsia bled upon the ground. (2023–24)
Commission: Westdeutschen Rundfunk & Wien Modern

Live Recording: Pierre-Laurent Aimard & WDR Orchestra (cond. Elena Schwarz), 12 May 2024, Cologne

Photo: WDR/Holger Talinski

The purple fuchsia bled upon the ground. (2023–24), for piano and orchestra

"Opal" (2024, for electric guitar & live electronics)
Commissioned by Centre Henri Pousseur
microtonal e.guitar w/ hexaphonic system [this recording is a stereo adaptation!]
Premiere: 11 May 2024 @ Le MoM, Liège (BE)
Festival Images Sonores
François Couvreur (e.guitar), Zeno Baldi (live el.), Patrick Delges (sound dir.) 
Score published by Ricordi, Milan.

Opal (2024)

“Le nubi non scoppiano per il peso” 
for 9 musicians, soprano, computer-controlled water drops and electronics

Ensemble Court-Circuit, Omo Bello, Jean Deroyer 
Oslo Ultima Contemporary Music Festival 11/09/2011


The text :

"Who cuts a channel for the torrents of rain, and a path for the thunderstorm, to water a land where no one lives, an uninhabited desert, to satisfy a desolate wasteland and make it sprout with grass? Does the rain have a father? Who fathers the drops of dew?"
The Book of Job, chapter 38

To the eyes of the unknown authors of the Book of Job, the creation appears as an indecipherable enigma. The only one who knows its laws is the engineer who establishes the weight of the wind, who counts the clouds in the sky and apportions the water by measure. And these laws seem to have no consideration for man; there is no punishment or compensation for his behaviour. Rain falls in the desert too, on a land that nobody harvests. Disgrace befalls on the righteous and the unrighteous alike.
The long, scoffing reply that God gives to Job’s relentless existential questions (a short excerpt is sung in the piece) is itself composed of questions, almost suggesting that, as Wittgenstein wrote: “when the answer cannot be put into words, neither can the question.”
“Le nubi non scoppiano per il peso” deals with heaviness and fall, and with measuring what seems to have no measure.

The piece is dedicated to my parents.

“An altar begins where the sense of measure ends. Being a saint means losing control, giving up weight, and weight is organizing one's own dimension”
Carmelo Bene, Our Lady of the Turks

Work commissioned by Ensemble Court-Circuit and by “Integra - Fusing music and technology” a EU-funded project led by Birmingham Conservatoire (UK).

The dripping device is inspired by the installation Dripper01 by Arno Fabre (who has kindly shared his know-how) and has been built by Simon Cacheux. A special acknowledgment to Thierry Coduys who supervised the early stages of its construction.


Mauro Lanza - "Le Nubi non Scoppiano per il Peso" (2011)

Let us imagine a small invented world, a micro universe where everything exists... matter, energy, spirit, telluric movements, mysteries, natural and supernatural forces. That world is whole and from afar, whoever watches, sees it as a living ocean.
This work was composed in the Musiques-Recherches studio and is dedicated to Annette Vande Gorne and Francis Dhomont.

La Mer Emeraude

Electronic music made entirely by means of physical-modelling synthesis. Originally for tuba and 8channel electronics (2001), electronic-only stereo version was made in 2008. The piece is an hommage to the world of arcade video games of the early 80s, and quotes the soundtracks of -among others- Dig Dug, Bombjack, PacMan and of course BurgerTime

Burger Time ou les tentations de St Antoine (2001/2008)

Vitreo (2020).
A progression of chords articulates the structure of the composition. During the development of this progression, the essential shapes of the sounds change, resonating like glassy materials of different consistencies. The rhythm alternates confused moments with moments of stasis, reaching a periodic and obsessive beat, which becomes the backbone of the piece, around which the sound evolution develops.

Vitreo (2020)

Matteo Tundo is an Italian composer of acoustic and electroacoustic music. His primary interest in composition is the perception and cognition of the sound event, the neural mechanisms that lead to the signification of sound. His work is focused on the application of neuroesthetics in musical composition. After his first guitar studies, he devoted himself totally to composition and new technologies, studying at the conservatories of Florence, Parma and Lugano and at Accademia Nazionale di Santa Cecilia. He studied, among others, composition with Ivan Fedele, Giorgio Colombo Taccani, Javier Torres Maldonado, Nadir Vassena; electronic music with Marco Ligabue and Michelangelo Lupone. He attended specialization courses with Salvatore Sciarrino, Yan Maresz,  Beat Furrer, Franck Bedrossian, Marco Stroppa and others.
His compositions have been played in Italy, Germany, Portugal, France,  Spain, Greece, Switzerland, Austria, United States, Iran, Korea, Japan, Hong Kong, Australia and he participated as composer in international festivals: MA/IN Festival (2022), REF Resilience Festival (2022), Atemporánea Festival (2022), NYCEMF (2022), Seoul International Computer Music Festival (2021), Mixtur Festival (2021), Impuls Festival (2021), EAR_Electro Acoustic Room (2020), Mise-En Festival (2019), IlSuono Contemporary Music Week (2019), Outhear New Music Week (2019), MUSLAB (2018), OUA- EMF (2017), New Music Day (2017).
His compositions have been awarded or recommended in international competitions. His works are published by Edizioni Sconﬁnarte and Stradivarius Edizioni.
Since 2020 he has been teaching electronic music in Italian conservatories.

Vitreo (2020)

Matteo Tundo

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